piece of formal architecture. We are told something of the plot or fable, of the moral, and of the observance or violation of the three unities of time, place, and action; and perhaps a word or two is added on the dignity of the persons or the baldness of the style; but we no more know, after reading one of these complacent tirades, what the essence of the work is, what passion has been touched, or how skilfully, what tone and movement the author’s mind imparts to his subject or receives from it, than if we had been reading a homily or a gazette. That is, we are left quite in the dark as to the feelings of pleasure or pain to be derived from the genius of the performance or the manner in which it appeals to the imagination: we know to a nicety how it squares with the threadbare rules of composition, not in the least how it affects the principles of taste. We know everything about the work, and nothing of it. The critic takes good care not to baulk the reader’s fancy by anticipating the effect which the author has aimed at producing. To be sure, the works so handled were often worthy of their commentators; they had the form of imagination without the life or power; and when anyone had gone regularly through the number of acts into which they were divided, the measure in which they were written, or the story on which they were founded, there was little else to be said about them. It is curious to observe the effect which the Paradise Lost had on this class of critics, like throwing a tub to a whale: they could make nothing of it. “It was out of all plumb—not one of the angles at the four corners was a right angle!” They did not seek for, nor would they much relish, the marrow of poetry it contained. Like polemics in religion, they had discarded the essentials of fine writing for the outward form and points of controversy. They were at issue with Genius and Nature by what route and in what garb they should enter the Temple of the Muses. Accordingly we find that Dryden had no other way of satisfying himself of the pretensions of Milton in the epic style but by translating his anomalous work into rhyme and dramatic dialogue.68 So there are connoisseurs who give you the subject, the grouping, the perspective, and all the mechanical circumstances of a picture; but they never say a word about the expression. The reason is, they see the former, but not the latter. There are persons, however, who cannot employ themselves better than in taking an inventory of works of art (they want a faculty for higher studies), as there are works of art, so called, which seemed to have been composed expressly with an eye to such a class of connoisseurs. In them are to be found no recondite nameless beauties thrown away upon the stupid vulgar gaze; no “graces snatched beyond the reach of art”; nothing but what the merest pretender may note down in good set terms in his commonplace book, just as it is before him. Place one of these half-informed, imperfectly organised spectators before a tall canvas with groups on groups of figures, of the size of life, and engaged in a complicated action, of which they know the name and all the particulars, and there are no bounds to their burst of involuntary enthusiasm. They mount on the stilts of the subject and ascend the highest Heaven of Invention, from whence they see sights and hear revelations which they communicate with all the fervour of plenary explanation to those who may be disposed to attend to their raptures. They float with wings expanded in lofty circles, they stalk over the canvas at large strides, never condescending to pause at anything of less magnitude than a group or a colossal figure. The face forms no part of their collective inquiries; or so that it occupies only a sixth or an eighth proportion to the whole body, all is according to the received rules of composition. Point to a divine portrait of Titian, to an angelic head of Guido, close by—they see and heed it not. What are the “looks commercing with the skies,” the soul speaking in the face, to them? It asks another and an inner sense to comprehend them; but for the trigonometry of painting, nature has constituted them indifferently well. They take a stand on the distinction between portrait and history, and there they are spellbound. Tell them that there can be no fine history without portraiture, that the painter must proceed from that ground to the one above it, and that a hundred bad heads cannot make one good historical picture, and they will not believe you, though the thing is obvious to any gross capacity. Their ideas always fly to the circumference, and never fix at the centre. Art must be on a grand scale; according to them, the whole is greater than a part, and the greater necessarily implies the less. The outline is, in this view of the matter, the same thing as the filling-up, and “the limbs and flourishes of a discourse” the substance. Again, the same persons make an absolute distinction, without knowing why, between high and low subjects. Say that you would as soon have Murillo’s Two Beggar Boys at the Dulwich Gallery as almost any picture in the world, that is, that it would be one you would choose out of ten (had you the choice), and they reiterate upon you that surely a low subject cannot be of equal value with a high one. It is in vain that you turn to the picture: they keep to the class. They have eyes, but see not; and, upon their principles of refined taste, would be just as good judges of the
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